Fine Art
Audrey Bertie Yvonne Corrigan Sarah Jane Coxon Ellen Duffy Áine Farelly Emma Griffin Charlotte Hunt Inguna Mainule Thomas McCarthy Rachael Melvin Leah Millar Kate Murphy Magda Oleksiewicz Sean Prendergast Julie Ray Larkin Nicole Reddin Rozalia Relea Katie Staniford Lucy Tevlin Paul WhiteMagda Oleksiewicz
Melancholia
The concept of unity appeared over the centuries in many works of art, literature, philosophy and religious beliefs. In my work, I focused on researching a neutral language combining what is usually considered as feminine and masculine in art. Part of my work is based on 'translation' of the nudes from selected historical paintings into the language of architecture and urban planning.
The remaining part of my work relied on the reconstruction of the studio interior that consists of things collected during my Fine Art studies. Fabrics, threads and papers were stitched, painted and formed as an unidentified part of clothing, accessories and studio equipment without any distinctive feminine connotations. This process helped me to generate some questions about my identity as a creator in the world of Fine Arts. One of the most important roles was that of feminism in my practice.
I investigate whether feminist activism in my work should be equally as important as the studio practice that is free from theory, ideology and definitions. I question if the focus on developing skills and visual intelligence as well as expanding practices is considered as academic and would give female artists more freedom and equality. References to art history and the use of scraps and leftovers from my work in the studio have become an attempt to rebuild and fill the gap in the history of women's exclusion. This process also allowed me to look at historical paintings from quite a new perspective.
The concept of unity appeared over the centuries in many works of art, literature, philosophy and religious beliefs. In my work, I focused on researching a neutral language combining what is usually considered as feminine and masculine in art. Part of my work is based on 'translation' of the nudes from selected historical paintings into the language of architecture and urban planning.
The remaining part of my work relied on the reconstruction of the studio interior that consists of things collected during my Fine Art studies. Fabrics, threads and papers were stitched, painted and formed as an unidentified part of clothing, accessories and studio equipment without any distinctive feminine connotations. This process helped me to generate some questions about my identity as a creator in the world of Fine Arts. One of the most important roles was that of feminism in my practice.
I investigate whether feminist activism in my work should be equally as important as the studio practice that is free from theory, ideology and definitions. I question if the focus on developing skills and visual intelligence as well as expanding practices is considered as academic and would give female artists more freedom and equality. References to art history and the use of scraps and leftovers from my work in the studio have become an attempt to rebuild and fill the gap in the history of women's exclusion. This process also allowed me to look at historical paintings from quite a new perspective.
